UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl)
During the exhibition the gallery will be closed: contemporary art and the
paradoxes of conceptualism
van Winkel, C.H.
Publication date
2012
Link to publication
Citation for published version (APA):
van Winkel, C. H. (2012). During the exhibition the gallery will be closed: contemporary art
and the paradoxes of conceptualism. Valiz uitgeverij.
General rights
It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons).
Disclaimer/Complaints regulations
If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible.
Bibliography
Edited books, compilations, anthologies and catalogues are listed under their main title.In those cases references to specific articles can be found in the footnotes. Exhibition catalogues are listed separately at the end of the bibliography.
Aftab, Omar, et al. “Information Theory and the Digital Age.”
http://web.mit.edu (2001).
Alberro, Alexander, et al. Lawrence Weiner. London: Phaidon Press, 1998. Alberro, Alexander. Conceptual Art and the Politics of Publicity.
Cambridge, Mass./London: MIT Press, 2003.
Alberro, Alexander, and Blake Stimson, eds. Conceptual Art: A Critical
Anthology. Cambridge, Mass.: MIT Press, 1999.
Alberro, Alexander, and Patricia Norvell, eds. Recording Conceptual Art.
Early Interviews with Barry, Huebler, Kaltenbach, LeWitt, Morris, Oppenheim, Siegelaub, Smithson, Weiner by Patricia Norvell.
Berkeley/Los Angeles/London: University of California Press, 2001. Alberro, Alexander, and Sabeth Buchmann, eds. Art after Conceptual Art. Generali Foundation collection series. Cambridge, Mass.: MIT Press, 2006. Amman, Jean-Christoph. “Jeff Koons. A Case Study.” Parkett 19 (March 1989), 56-58.
Andriesse, Paul, and Mariska van den Berg, eds. Art Gallery Exhibiting. Amsterdam: Paul Andriesse and Uitgeverij De Balie, 1996.
“A Questionnaire on ‘The Contemporary’: 32 Responses.” October 130 (Fall 2009), 3-124.
Ashton, Dore. “New York Commentary.” Studio International 180:927 (November 1970), 200-202.
Baldwin, Michael. “Conceptual Questionnaire.” Flash Art 143 (November-December 1988), 105-106.
Barthes, Roland. Image, Music, Text: Essays. London: Fontana Press, 1977. Bätschmann, Oskar. Ausstellungskünstler. Kult und Karriere im modernen
Battcock, Gregory. “Informative Exhibition at the Museum of Modern Art.”
Arts Magazine 44:8 (Summer 1970), 24-27.
Baudrillard, Jean. Symbolic Exchange and Death, tr. Iain Hamilton Grant. London/Thousand Oaks/New Delhi: Sage, 1993.
Becker, Howard S. Art Worlds. 25th Anniversary Edition. Updated and
Expanded. Berkeley: University of California Press, 2008.
Bell, Daniel. The Coming of Post-Industrial Society. A Venture in Social
Forecasting. 1973; repr., New York: Basic Books, 1999.
Bierens, Cornel. “De gemakzuchtige slaapkamers. De beeldende kunst moet onderduiken.” NRC Handelsblad, Cultureel Supplement (19 May 2000), 1. Bishop, Claire. “Antagonism and Relational Aesthetics.” October 110 (Fall 2004), 51-79.
Blok, Cor. “Kunst – goed voor ons?” Museumjournaal 16:1 (February 1971), 3-7.
Blok, Cor. “Sonsbeek ’71: testcase voor de relatie tussen kunst en maatschappij?” De Groene Amsterdammer (13 March 1971), 9. Blok, Cor. “Gaat Sonsbeek buiten de perken?” Museumjournaal 16:4 (September 1971), 169-177.
Blok, Cor, ed. Nederlandse kunst vanaf 1900. Utrecht: Stichting Teleac, 1994.
Blotkamp, Carel. “Sonsbeek 1971, een testcase voor de presentatie van moderne kunst.” Vrij Nederland (31 July 1971), 17.
Bourdieu, Pierre. Les règles de l’art. Genèse et structure du champ
littéraire. 1992; rev. ed., Paris: Éditions du Seuil, 1998.
Bourriaud, Nicolas. Esthétique relationnelle. Dijon: les Presses du réel, 1998.
Bouwhuis, Jelle, et al., eds. Now Is the Time. Art & Theory in the 21st
Century. Rotterdam: NAi Publishers, 2009.
Bradley, Will. “De Superflex methode. Een biogastank voor Afrika.”
Metropolis M 20:2 (April-May 1999), 42-44.
Broos, Kees. Ontwerp: Total Design. Utrecht: Reflex, 1983.
Bruinsma, Max. “Elke kunstenaar is een ontwerper. Pleidooi voor een ontwerpkritische praktijk.” Metropolis M 21:1 (February-March 2000), 16-21.
Bryson, Norman, and Trevor Fairbrother. “Thomas Ruff: Spectacle and Surveillance.” Parkett 28 (1991), 92-99.
Bryson, Norman. “Jeff Wall. Enlightenment Boxes.” Art & Text 56 (February-April 1997), 56-64.
Buchloh, Benjamin H.D. “Conceptual Art 1962-1969: From the Aesthetic of Administration to the Critique of Institutions.” October 55 (Winter 1990), 105-143.
Burke, Kenneth. A Grammar of Motives. New York: Prentice-Hall, 1945. Burke & Hare. “From Full Fathom Five.” Parkett 19 (March 1989), 44-47. Burn, Ian. “The Sixties: Crisis and Aftermath (or the Memoirs of an Ex-Conceptual Artist).” Art & Text 1:1 (Fall 1981), 49-65.
Burnham, Jack. “System Esthetics.” Artforum 7:1 (September 1968), 30-35. Burnham, Jack. “Real Time Systems.” Artforum 8:1 (September 1969), 49-55.
Burnham, James. The Managerial Revolution. What Is Happening in the
World. New York: John Day, 1941.
Campbell, Jeremy. Grammatical Man. Information, Entropy, Language,
and Life. New York: Simon and Schuster, 1982.
Carroll, Noël. On Criticism. London/New York: Routledge, 2009. Cartier-Bresson, Henri. The Decisive Moment. New York: Simon and Schuster, 1952.
Cavell, Stanley. Must We Mean What We Say? A Book of Essays. 1969; new ed., Cambridge/New York: Cambridge University Press, 1976.
Cavell, Stanley. The World Viewed: Reflections on the Ontology of Film.
Enlarged Edition. Cambridge, Mass./London: Harvard University Press,
1979.
Chandler, John. “The Last Word in Graphic Art.” Art International 7:9 (November 1968), 25-28.
Claura, Michel, and Seth Siegelaub. “l’Art conceptuel.” XXe siècle 41 (December 1973), 156-159.
Colebrook, Claire. Irony in the Work of Philosophy. Lincoln/London: University of Nebraska Press, 2002.
Coplans, John. “Concerning ‘Various Small Fires’: Edward Ruscha
Discusses His Perplexing Publications.” Artforum 3:5 (February 1965), 24-25.
Corris, Michael, ed. Conceptual Art. Theory, Myth, and Practice. Cambridge: Cambridge University Press, 2004.
Crouwel, Wim. Vormgeving – door wie? Delft: Waltman, 1973. Crouwel, Wim. Ontwerpen en drukken. Over drukwerk als
kwaliteitsprodukt. Nijmegen: G.J. Thiemefonds, 1974.
Crow, Thomas. “Visual Culture Questionnaire.” October 77 (Summer 1996), 34-36.
Crow, Thomas. Modern Art in the Common Culture. New Haven/London: Yale University Press, 1996.
Danto, Arthur C. “The Artworld.” The Journal of Philosophy 61:19 (1964), 571-584.
Danto, Arthur C. “Artworks and Real Things.” Theoria 39:1 (1973), 1-17. Danto, Arthur C. The Transfiguration of the Commonplace. A Philosophy
of Art. Cambridge/London: Harvard University Press, 1981.
Danto, Arthur C. “The Abuse of Beauty.” Daedalus 131:4 (Fall 2002), 35-56. De Duve, Thierry. Kant after Duchamp. Cambridge, Mass./London: MIT Press, 1996.
Desjardijn, D. Voer voor miljoenen. De Aktie BBK en Sonsbeek buiten de
Perken. Amsterdam: Stachelswine Publishers, 1989.
De Wilde, Edy, et al. Om de kunst. Eindhoven: Lecturis, 1978.
Extra bulletin: over het werk van Wim Crouwel. Amsterdam: Stedelijk
Museum, 1979.
Faust, G.M., and G. de Vries. Hunger nach Bildern. Cologne: Dumont, 1982.
Finch, Charlie. “Jeff Koons’ Celebration. A Royal Flush Special.”
http://www.artnet.com (5 December 1997).
Fisher, Philip. Making and Effacing Art. Modern American Art in a
Floré, Fredie. “Sociaal modernisme. De designkritiek van K.-N. Elno (1920–1993).” De Witte Raaf 89 (January-February 2001), 7-8.
Forceville, Charles. “Relevanz und Prägnanz: Kunst als Kommunikation.”
Zeitschrift für Semiotik 31:1-2 (2009), 31-63.
Foster, Hal, ed. Discussions in Contemporary Culture. Seattle: Bay Press, 1987.
Foster, Hal. The Return of the Real. The Avant-Garde at the End of the
Century. Cambridge, Mass./London: MIT Press, 1996.
Foster, Hal. Design and Crime (and Other Diatribes). London/New York: Verso, 2003.
Foster, Hal, et al., eds. Art since 1900: Modernism, Antimodernism,
Postmodernism. London: Thames and Hudson, 2004.
Frankel, David. “Cindy Sherman Talks to David Frankel.” Artforum 41:7 (March 2003), 54-260.
Freidus, Marc. “Lack of Faith. On Thomas Ruff.” Parkett 28 (1991), 66-71. Fried, Michael. “Art and Objecthood.” Artforum 5:10 (June 1967), 12-23. Gabor, Andrea. The Man Who Discovered Quality. How W. Edwards
Deming Brought the Quality Revolution to America: the Stories of Ford, Xerox, and GM. New York: Times Books/Random House, 1990.
Gibbons, Fiachra. “Judges switched on as Turner Prize goes to the Creed of nothingness.” The Guardian (10 December 2001).
Gielen, Pascal. Kunst in netwerken. Artistieke selecties in de hedendaagse
dans en beeldende kunst. Tielt: LannooCampus, 2003.
Gielen, Pascal, and Paul De Bruyne, eds. Being an Artist in Post-Fordist
Times. Rotterdam: NAi Publishers, 2009.
Glaser, Bruce. “Questions to Stella and Judd.” Art News 65:5 (September 1966), 55-61.
Goldie, Peter, and Elisabeth Schellekens, eds. Philosophy & Conceptual Art. Oxford/New York: Oxford University Press, 2007.
Graham, Dan. “After Thoughts/Schema.” Interfunktionen 8 (January 1972), 29.
Greenberg, Clement. The Collected Essays and Criticism. Volume 4:
Modernism with a Vengeance, 1957-1969, ed. John O’Brian.
Hamer, Otto. “Sonsbeek ’71: vrijheid kanaliseren.” De Groene
Amsterdammer (17 July 1971), 7.
Harrison, Charles. Essays on Art & Language. 1991; new ed., Cambridge, Mass./London: MIT Press, 2001.
Harrison, Charles. Conceptual Art and Painting. Further Essays on Art &
Language. Cambridge, Mass./London: MIT Press, 2001.
Huelsenbeck, Richard, ed. DADA Almanach. 1920; repr., Hamburg: Edition Nautilus, 1987.
Hugunin, James.“A Talk with Baldesssari.” The Dumb Ox 1:2 (1976), 11-12. Reprinted in: David Campany, ed. Art and Photography. London: Phaidon, 2003, 227.
Hutcheon, Linda. Irony’s Edge. The Theory and Politics of Irony. London/New York: Routledge, 1994.
Huygen, Frederike, and Hugues Boekraad. Wim Crouwel. Mode en module. Rotterdam: 010, 1997.
Jameson, Fredric. Postmodernism, or, The Cultural Logic of Late
Capitalism. London/New York: Verso, 1991.
Jameson, Fredric. A Singular Modernity. Essay on the Ontology of the
Present. London/New York: Verso, 2002.
Jones, Caroline. Machine in the Studio. Constructing the Postwar
American Artist. Chicago/London: University of Chicago Press, 1996.
Judd, Donald. Complete Writings 1959-1975: Gallery Reviews, Book
Reviews, Articles, Letters to the Editor, Reports, Statements, Complaints.
Halifax: Press of the Nova Scotia College of Art and Design, 1975.
Kaplan, Louis. “The Telephone Paintings: Hanging Up Moholy.” Leonardo 26:2 (1993), 165-168.
Karstetter, Allan B. “Toward a Theory of Rhetorical Irony.” Speech
Monographs 31:2 (1964), 162-178.
Kempers, Paul. “Weg met de musea.” De Groene Amsterdammer (30 April 1997), 26-29.
Kester, Grant. Conversation Pieces: Community and Conversation in
Modern Art. Berkeley: University of California Press, 2004.
Kosuth, Joseph. “Introductory Note by the American Editor.” Art-Language 1:2 (February 1970), 1-4.
Kosuth, Joseph. Art After Philosophy and After: Collected Writings,
1966-1990. Cambridge, Mass.: MIT Press, 1993.
Kotz, Liz. “Post-Cagean Aesthetics and the ‘Event’ Score.” October 95 (Winter 2001), 54-89.
Kotz, Liz. Words to Be Looked At. Language in 1960s Art. Cambridge, Mass.: MIT Press, 2007.
Kozloff, Max. “The Trouble with Art-as-Idea.” Artforum 11:1 (September 1972), 261-265.
Krauss, Rosalind. “A Voyage on the North Sea”. Art in the Age of the
Post-Medium Condition. London/New York: Thames & Hudson, 1999.
Kronick, Joseph G. “The Limits of Contradiction: Irony and History in Hegel and Henry Adams.” Clio 15:4 (1986), 391-410.
Leering, Jean, and Jan van Toorn. Vormgeving in functie van museale
overdracht. Eindhoven: Lecturis, 1978.
LeWitt, Sol. “Serial Project #1, 1966”, in: Aspen Magazine 5-6 (1967), n.p. LeWitt, Sol. “Paragraphs on Conceptual Art.” Artforum 5:10 (Summer 1967), 79-84.
Lippard, Lucy R., and John Chandler. “The Dematerialization of Art.” Art
International 12:2 (February 1968), 31-36.
Lippard, Lucy R., ed. Six Years. The Dematerialization of the Art Object
from 1966 to 1972. 1973; repr., Berkeley/Los Angeles/London: University of
California Press, 1997.
Luhmann, Niklas. Art as a Social System. Stanford: Stanford University Press, 2000.
Lütticken, Sven. “Het schilderij en de afvalbak.” De Witte Raaf 89 (January-February 2001), 11-13.
Lütticken, Sven. Allegories of Abstraction. PhD thesis. Amsterdam: Vrije Universiteit, 2002.
MacLow, Jackson, and La Monte Young, eds. An Anthology of Chance
Operations. Bronx, N.Y.: L. Young & J. MacLow, 1963.
Mansfield, Elizabeth, ed. Art History and Its Institutions. Foundations of a
Discipline. London/New York: Routledge, 2002.
McEvilley, Thomas. Art & Discontent. Theory at the Millennium. New York: Documentext/McPherson, 1991.
Meyer, Ursula, ed. Conceptual Art. New York: Dutton, 1972.
Mijksenaar, Paul. “’n Rodeo voor ontwerpers.” Graficus, 25 August 1972. Mitchell, W.J.T. Picture Theory. Essays on Verbal and Visual
Representation. Chicago/London: The University of Chicago Press, 1994.
Moholy, Lucia. Marginalien zu Moholy-Nagy/Marginal Notes.
Dokumentarische Ungereimtheiten/Documentary Absurdities. Krefeld:
Scherpe Verlag, 1972.
Moholy-Nagy, László. The New Vision and Abstract of an Artist. New York: George Wittenborn, 1947.
Monroe, Alan H. Principles and Types of Speech. 1939; 4th ed., Chicago:
Scott, Foresman and Co., 1955.
Newman, Michael. “Conceptual Art from the 1960s to the 1990s: An Unfinished Project?” Kunst & Museumjournaal 7:1/2/3 (1996), 95-104. Newman, Michael, and Jon Bird, eds. Rewriting Conceptual Art. London: Reaktion Books, 1999.
Osborne, Peter, ed. Conceptual Art. London: Phaidon, 2002.
Osborne, Peter. “Art beyond Aesthetics: Philosophical Criticism, Art History and Contemporary Art.” Art History 27:4 (September 2004), 651-670. Perry, Gillian, and Paul Wood, eds. Themes in Contemporary Art. New Haven/London: Yale University Press, 2004.
Potter, Van Rensselaer. Bioethics. Englewood Cliffs, N.J.: Prentice-Hall, 1971.
Pültau, Dirk. “De kunst van het dilettantisme.” De Witte Raaf 90 (March-April 2001), 10-18.
Ratcliff, Carter. “New York Letter.” Art International 14:7 (September 1970), 95.
Robertson, Bruce. “The Tipping Point. Museum Collecting and the Canon.”
American Art 17:3 (Autumn, 2003), 2-11.
Rose, Barbara. “Problems of Criticism, VI: The Politics of Art, Part III.”
Artforum 7:9 (May 1969), 46-51.
“Round Table: Conceptual Art and the Reception of Duchamp.” October 70 (Fall 1994), 127-146.
“Round Table: The Present Conditions of Art Criticism.” October 100 (Spring 2002), 200-228.
Sennett, Richard. The Craftsman. London: Penguin, 2008.
Shanken, Edward A. “The House that Jack Built: Jack Burnham’s Concept of ‘Software’ as a Metaphor for Art.” Leonardo Electronic Almanak 6:10 (November 1998).
Shanken, Edward A. “Art in the Information Age: Technology and
Conceptual Art.” Art Inquiry 3:12 (2001), 7-33; reprinted in: Leonardo 35:3 (August 2002), 433-438.
Shannon, Claude E., and Warren Weaver. The Mathematical Theory of
Communication. 1949; repr., Urbana/Chicago/London: University of
Illinois Press, 1972.
Sharp, Willoughby. “Willoughby Sharp Interviews Jack Burnham.” Arts
Magazine 45:2 (November 1970), 21-23.
Smith, Terry. What Is Contemporary Art? Chicago/London: University of Chicago Press, 2009.
Smithson, Robert. The Collected Writings, ed. Jack Flam. Berkeley: University of California Press, 1996.
Spector, Buzz. Objects and Logotypes. Relationships Between Minimalist
Art and Corporate Design. Chicago: Renaissance Society, 1980.
Staal, Gert. “Het arrogante, ongrijpbare van Total Design.” De Volkskrant (13 May 1983).
Stallabrass, Julian. Art Incorporated. The Story of Contemporary Art. Oxford: Oxford University Press, 2004.
Staniszewski, Mary Anne. “Mel Ramsden Interview.” Flash Art 143 (November-December 1988), 106-107.
Staniszewski, Mary Anne. “Jeff Koons: Conceptual Art of the ’60s and ’70s Alienated the Viewer.” Flash Art 143 (November/December 1988), 113-114. Stigter, Bianca. “Ik wil de friettenten omdraaien. Hans van Houwelingen over zijn geëngageerde kunst.” NRC Handelsblad, Cultureel Supplement (22 November 1996), 6.
Tamar, “In afwachting van de bal.” Vrij Nederland (31 March 1979). Tegenbosch, Lambert. “De fraseologie van Sonsbeek 71.” Raam 75 (July 1971), 43-50.
Tumlir, Jan. “The Hole Truth. Jan Tumlir Talks with Jeff Wall about The
Flooded Grave.” Artforum 39:7 (March 2001), 112-117.
Vanderlinden, Barbara, and Elena Filipovic, eds. The Manifesta Decade:
Contemporary Art Exhibitions and Biennials in Post-Wall Europe.
Cambridge, Mass.: MIT Press, 2005.
Van der Marck, Jan.“Kunst per telefoon in het Museum of Contemporary Art in Chicago.” Museumjournaal 15:1 (February 1970), 58-65.
Vande Veire, Frank. “De paradoxen van de ideologiekritiek. Over Essays
historiques II van Benjamin Buchloh.” De Witte Raaf 41 (January-February
1993), 7.
Vande Veire, Frank. “Een gift aan levende doden. Over het kunstwerk als publiek geheim.” De Witte Raaf 101 (January-February 2003), 19-23. Van de Ven, Frans. Het verhaal van de Delta-Expo. Het activeringsmodel
in de expositievormgeving. Breda: Academie St. Joost, 2000.
Van Winkel, Camiel. Moderne leegte. Over kunst en openbaarheid. Nijmegen: SUN, 1999.
Van Winkel, Camiel. “Dertig jaar buiten de perken. Gesprek over Sonsbeek 71 met Cor Blok, Judith Cahen en Lambert Tegenbosch.” De Witte Raaf 91 (May-June 2001), 19-21.
Vinklers, Bitite. “Art and Information. Software at the Jewish Museum.”
Arts Magazine 45:1 (September-October 1970), 46-49.
Vollemans, Kees. “Sonsbeek gericht op abstracte individuen.” De Groene
Amsterdammer (21 August 1971), 11.
Wall, Jeff. Depiction, Object, Event. Hermes Lecture 2006. ’s-Hertogenbosch: Stichting Hermeslezing, 2006.
Welling, Dolf. “Sonsbeek in ’t noorden: veertig mensen per dag bij foto’s van Ruscha.” Haagsche Courant (10 July 1971), 19.
White, Harrison C., and Cynthia A. White. Canvases and Careers:
Institutional Change in the French Painting World. New York: John Wiley,
1965.
White, Hayden. Metahistory. The Historical Imagination in
Nineteenth-Century Europe. 1973; 2nd ed., Baltimore/London: Johns Hopkins
University Press, 1987.
WochenKlausur. “Working principles/Educational opportunities for Kosovo refugees.” Archis 8 (August 1999), 20-21.
Wood, Paul, et al., eds. Modernism in Dispute. Art Since the Forties. New Haven: Yale University Press, 1993.
Woodward, Kathleen, ed. The Myths of Information: Technology and
Postindustrial Culture. London/Henley: Routledge & Kegan Paul, 1980.
Catalogues
Aanwinsten / Acquisitions 1993-2003, ed. Jan van Adrichem et al.
Amsterdam: Stedelijk Museum, 2006.
Art conceptuel formes conceptuelles. Paris: Galerie 1900-2000 and Galerie
de Poche, 1990.
l’Art conceptuel, une perspective. Paris: Musée d’Art Moderne de la Ville de
Paris, 1989.
Binationale. German Art of the Late 80s. Düsseldorf/Boston: Städtische
Kunsthalle and Museum of Fine Arts, 1988.
Bridget Riley: Paintings from the 1960s and 70s. London: Serpentine
Gallery, 1999.
Conceptual Art in the Netherlands and Belgium 1965-1975, ed. Suzanna
Héman et al.Amsterdam: Stedelijk Museum, 2002.
Documenta 6. Kassel, 1977. 2 vol.
Global Conceptualism: Points of Origin 1950s-1980s. New York: Queens
Museum of Art, 1999.
In & Out of Amsterdam. Travels in Conceptual Art, 1960-1976, ed.
Christophe Cherix. New York: Museum of Modern Art, 2009.
Jeff Koons. Easyfun-ethereal. Berlin: Deutsche Guggenheim, 2000. Jeff Wall: Figures & Places. Selected Works from 1978-2000, ed. Rolf
Lauter. Munich: Prestel Verlag, 2001.
John Baldessari. Eindhoven/Essen: Van Abbemuseum and Museum
Folkwang, 1981.
Jorge Pardo, ed. Jörn Schafaff and Barbara Steiner. Ostfildern-Ruit: Hatje
Cantz, 2000.
Konzeption – Conception. Dokumentation einer heutigen Kunstrichtung.
Portraits – Thomas Struth. Paris: Marian Goodman Gallery, 1990. Reconsidering the Object of Art: 1965-1975, ed. Ann Goldstein and Anne
Rorimer. Los Angeles: Museum of Contemporary Art, 1996.
Sonsbeek 71, ed. Geert van Beijeren and Coosje Kapteyn. Arnhem: Stichting
Sonsbeek, 1971. 2 vol.
Sonsbeek 86, ed. Saskia Bos and Jan Brand. Utrecht: Veen/Reflex, 1986. 2
vol.
Sonsbeek 93, ed. Jan Brand et al. Ghent: Snoeck Ducaju, 1993.
The Last Picture Show: Artists Using Photography 1960-1982, ed. Douglas
Fogle. Minneapolis: Walker Art Centre, 2003.
Thomas Ruff: 1979 to the Present, ed. M. Winzen. Essen: Museum
Folkwang, 2002.
Tony Smith. Two Exhibitions of Sculpture. Hartford/Philadelphia:
